A NEAL ADAMS CHRONICLES birthday tribute to Levitz…
By PETER STONE
Paul Levitz, Brooklyn born, fulfilled a lifelong dream when in 1976 he became the editor of Adventure Comics. It was the eve of his 20th birthday. Two years later, in 1978, he succeeded Julius Schwartz as editor of the Batman line of comics. Between 1977 and 1989, he worked on The Legion of Super-Heroes, creating a series of storylines that are still legendary today, the highlight being “The Great Darkness Saga” with the late Keith Giffen, featuring the return of Darkseid in the future.
His tenure as DC Comics’ president and publisher lasted from 2002 to 2009, when he became a contributing editor and consultant for the newly formed DC Entertainment. He kept writing and guiding the company that he loved. Beyond all of the creative work that Paul did, he also understood that the freelance creatives needed to support themselves and their families.
Which brings me to the story I remember the most vividly about Paul Levitz, who was born 67 years ago, on Oct. 21, 1956. Neal Adams, who knew Paul as a youngster in the production room, then as an editor later on, and then as Jennette Khan’s creative editor and finally as the head of DC, had already left the publisher when Paul really came into his own, but they respected each other. Neal knew that Paul had an intensive history with Jack Adler (head of production) and Jenette Khan (who founded Dynamite magazine for Scholastic Inc. and then ran DC). Paul had brought in new talent, but also understood the past so he and Neal could have conflicts, but they would always come to an agreement.
Jenette and Paul, back in the day
In the early ’90s, Tim Burton had created two tremendously successful Batman movies. The Darknight Detective was on fire again. Joel Schumacher continued the run with two more star-filled movies. (Despite the critics’ opinions of Schumacher’s installments, the movies did very well at the box office.)
Neal provided covers for DC on occasion. Paul and Jenette made the comic book company as good as they could. They introduced Vertigo, Watchmen, The Dark Knight Returns and many other series that changed the industry. Neal watched from nearby, sending DC new and exciting artists that were looking for work.
After the Schumacher movies, there was a lull in DC movie projects. George Clooney worried that he had destroyed the Batman franchise, but that was certainly not the case. Eight years after Batman and Robin, director Christopher Nolan’s Batman Begins, starring Christian Bale, debuted to huge critical and financial acclaim. The main villain of the movie was Ra’s al Ghul, a character co-created and visually realized by Neal Adams. (Neal was especially proud of the fact that Ra’s did not have eyebrows. It was a fact that very few fans — or artists — even noticed.)
The Nolan movie combined a variety of storylines from different creators, but the core villain was the Ra’s al Ghul developed by Neal, writer Denny O’Neil and editor Julie Schwartz, who had come up with the name. Liam Neeson didn’t shave off his eyebrows, but he embodied the soul of the villain created decades before. It was a success.
Now, Marvel and DC are vastly different companies and one of the major differences is their monetary remuneration for creatives who gave the companies characters used in movies, television, animation, toys or video games. DC, thanks to Paul Levitz, was a far more generous company. Paul seemed to truly understand what creatives bring to the world and it’s something that some movie studios have trouble accepting. Without Neal, without all the brilliant creative people out there, movies will have nothing to draw from. We need the pool of creativity to draw from. Paul understood this.
To punctuate this point, Paul asked to come over and see Neal, revealing that there would be a check for him. Now, Neal and Paul had indeed talked about Ra’s and Neal believed he was owed something for co-creating the character. Paul, of course, had to go to the lawyers for a final number but it was significant in the end.
I will admit that Paul offered me a job when Continuity Comics folded so I will always have a place in my heart for him. That said, when Paul came to Continuity everyone was super nice to him. He got to see some of Neal’s comic art, old and new. He got to have a conversation with Neal and his daughter Kris (my wife). He got a cup of coffee or a bottle of water (I forget which). Then he pulled out the reason he was there.
Paul pulled a thin, white envelope from his suit-jacket pocket that he handed to Neal with a huge smile on his face. Neal accepted the check warily, not knowing what the mysterious number on the check was. Neal pulled the envelope open, carefully checked the number, and then pulled out the check. Finally, a big smile. Neal was super-happy with the digits. Photos were taken, but Paul asked Neal not to reveal the number on the check as he was leaving.
Neal shook Paul’s hand and agreed not to say anything. Unfortunately for Paul and DC, Neal immediately posted online a story about the number he had received for his contribution to Batman. Let’s just say there were six digits on that check.
In 2008, The Dark Knight movie hit, featuring a stellar performance by the late Heath Ledger. The opening sequence featuring the Joker’s men killing each other as their part in the heist reminded Neal and Paul of the classic Batman #251. Sure enough, and true to his promise, Paul sent Neal another check. Not as big as the first one, but it was still money out of the blue… and that’s always nice, right?
There was a small check connected to the third Nolan movie, but Neal had not created Talia al Ghul. Ra’s did appear, so Neal was deserving of something but it wasn’t amazing money. Finally, Matt Reeves directed The Batman movie with a snazzy new Batmobile. Neal, unfortunately still recovering from sepsis, asked DC about the connection between his version of the vehicle and the one on the screen. Of course, Neal believed the new Batmobile was based on his 1970s design.
He did not survive the success of the most recent Batman movie, but Neal’s influence on the Caped Crusader remains eternal. Paul Levitz, to his great credit, did his very best to compensate the creatives for their hard work and brilliant ideas. Paul’s time at DC was revolutionary, perhaps because he was a creative himself. He seemed to understand that to get the best work, you had to be willing to compensate the creators.
So, Paul Levitz, from all the creators who receive compensation for using their ideas in movies, television and video games, have a great day!
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MORE
— Dear Artists: RA’S AL GHUL Does Not Have Eyebrows. Click here.
— Hey, Here’s Why the New Movie BATMOBILE Looks Familiar. Click here.
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Peter Stone is a writer and son-in-law of the late Neal Adams. Be sure to check out the family’s twice-weekly online Facebook auctions, as well as the NealAdamsStore.com, and their Burbank, California, comics shop Crusty Bunkers Comics and Toys.
